The Royal Opera is a company based in central London, resident at the Royal Opera House, Covent Garden. Along with the English National Opera, it is one of the two principal opera companies in London. Founded in 1946 as the Covent Garden Opera Company, it was known by that title until 1968. It brought a long annual season and consistent management to a house that had previously hosted short seasons under a series of impresarios. Since its inception, it has shared the Royal Opera House with the dance company now known as The Royal Ballet.
This band was from Scotland, their name is derived from a novel by the poet John Gray in 1728. The musicians of Beggars Opera were Martin Griffiths (vocals), Rick Gardiner (guitar and vocals), Alan Park (keyboards), Gordon Sellar (bass, acoustic guitar and vocals), Virginia Scott (Mellotron and vocals) and Raymond Wilson (drums and percussion).
Their debut album "Act One" (1970) contains fluent and tasteful organ driven progrock with powerful "Sixties" sounding guitarwork. The long track "Raymond's Road" is a splendid tribute to the "classics" featuring Mozart's A la Turka, Bach's Toaccata in d-fuga en Grieg's Peer Gynt Suite on the Hammond organ…
The third in the Glass’ trilogy of operas about men who changed the world in which they lived through the power of their ideas, “Akhnaten”‘s subject is religion. The Pharaoh Akhnaten was the first monotheist in recorded story, and his substitution of a one-god religion for the multi-god worship in use when he came to power was responsible for his violent overthrow. The opera describes the rise, reign, and fall of Akhnaten in a series of tableaus. Libretto (Egyptian, Arcadian, Hebrew, and language of the audience) by the composer in association with Shalom Goldman, Robert Israel and Richard Riddell. Vocal text drawn from original sources by Shalom Goldman.
2015: Boxset of 2 CD taking back all discography of Opera de Nuitfrom 1984 till 1988. This boxset contains two inserts: a fold-out poster with lyrics/pictures and a sticker. Formed in 1982, Opera de Nuit is a french new-wave band belonging the independant scene from early 80's, including five friends, four from Valreas and the fifth from the Drome department, in southeastern France. Self-taught band bringing a certain kind of will, the Opera wanders from halls to basements, from attics to caves: they multiply concerts in France and elsewhere (Paris, Lyon, Marseille,…), as well as their interviews and radio and TV broacasts.
Oxmo Puccino's 1998 debut, Opéra Puccino, was produced almost entirely by DJ Mars, who evidently gleans inspiration from Pete Rock and DJ Premier. His alternately sensitive and rugged beats are a fitting backdrop for the French-language MC’s low-profile yet tense flow. “Mensongeur” is a surprising dancefloor diversion, where Puccino is pitched somewhere between Notorious B.I.G. and Mase.
Not being a lifelong Wagner devotee, I'm not sure if this particular performance has been released before or not, but I do know that it was included in a 2013 9-title release of Wagner operas recorded live from The Met from 1937 through 1954.
Why this performance? 3 words: Flagstad, Melchior, Huehn. I would add to that Leinsdorf, especially since the recording quality is so bad; his faster-than-the-norm tempi help cut through the densely muddy sound quality.
The Festspiel-Saison at the Festspielhaus Baden-Baden culminated with Jonas Kaufmann, Bryn Terfel, Anja Harteros and Ekaterina Gubanova all on stage in this magnificent Opera Gala. The gala presented a diverse range of solo-arias and duets…
Queen were straining at the boundaries of hard rock and heavy metal on Sheer Heart Attack, but they broke down all the barricades on A Night at the Opera, a self-consciously ridiculous and overblown hard rock masterpiece…
…The vivid MDG recording is slightly distanced, so the volume needs to be increased considerably for its fine qualities to become evident. Balances between voices and orchestra are excellent, and for those listening in multi-channel the surround speakers have been used to great effect for the off-stage brass, distant bells and chorus in the Act 3 cataclysmic immolation of Irrelohe castle. There is no applause or audience noise but the movement of singers on the stage is clearly defined with very few extraneous sounds being captured by the microphones. This is the latest addition to the Schrecker discography and will be welcomed by all admirers of the composer and can be confidently recommended.